À la lumière des apports théoriques des sciences et de la philosophie mais également des arts en général et du cinéma en particulier, cette recherche recense et analyse les figures et les dispositifs du vide dans le cadre occidental du septième art à l’aide d’une filmographie variée, allant du cinéma primitif à celui contemporain et incluant des oeuvres narratives comme expérimentales. Le vide représenté est ainsi abordé sous sa forme spatiale, temporelle, plastique mais également sonore. La seconde partie dédiée au vide-dispositif ausculte, quant à elle, la dimension disséminée, intervallaire mais également absolue du vide propres au dispositif cinématographique. Figures et dispositifs sont par la suite examinés dans le cadre de la relation étroite qui les unit au trauma et sa représentation, fréquemment catalyseur d’une esthétique du vide au cinéma. L’analyse d’objets filmiques en lien avec des évènements historiques tragiques – du génocide arménien à la Première Guerre mondiale en passant par l’examen approfondi des attentats du 11 septembre permet ainsi d’identifier la nature fondamentalement non-symbolique du trauma comme origine causale de cette corrélation. Agissant comme révélateur de cette béance représentationnelle, il épouserait de surcroît un rôle bien souvent défensif comparable à celui caractéristique du bouclier perséen, opérant à la manière d’un pare-excitation plastique dans la but de protéger le spectateur de l’image pétrifiante. Ce constat également éprouvé hors du cadre traumatique de nature uniquement historique dans lequel ont été plus spécifiquement conduites ces recherches pousse aujourd’hui à envisager la possibilité d’une relation plus vaste (et notamment plus universelle que celle occidentale à laquelle ce travail s’est restreint) entre la représentation du trauma en général - historique ou fictif, collectif ou personnel – et le vide au cinéma. / According to the scientific and philosophical enlightenments, but also from those of the Arts and especially from cinema, this research analyzes and takes an inventory of the figures and dispositifs of the void in the Occidental frame of the seventh Art, with the help of a varied filmography, from primitive to contemporary cinema, and including narrative and experimental works. The represented void is thus approached under its spatial, temporal, plastic and also sonorous aspect. The second part dedicated studies the disseminated, the interstitial but also the absolute dimension of the void proper to the cinematographic dispositif. Figures and dispositifs of the void are then examined in the light of their close relation to trauma and its representation, which is frequently a catalyst of the void. The study of films related to tragic historical events - from the Armenian genocide to World War One, or the detailed examination of the attacks of September 11 - therefore allows to identify the fundamentally non-symbolic aspect of trauma, as a causal origin of this correlation. Indeed, the void would often adopt a defensive role, similar to the characteristic Persea's shield, acting as a plastic stimulus barrier in order to protect the viewer from the petrifying vision. This proven assessment, out of the traumatic frame of historical nature in which those researches have been made, leads today to considering the possibility of a more vast relation - and especially more universal than the Occidental one to which this work is restricted - between the representation of trauma in general - historical or fictive, collective or personal - and the void in cinema.

This dissertation examines the ways in which torture was imagined and narrated in Guatemalan literature during the Internal Armed Conflict. For nearly four decades, Guatemala suffered one of the longest and most violent wars in Latin America. During that time, it is estimated that more than 100,000 people were tortured at the hands of the Guatemalan military. Torture, as suggested by Ariel Dorman, is most fundamentally “a crime committed against the imagination” (8), disrupting and often dissolving the boundaries between fact and fiction, the real and the unreal. The Introduction and Chapter One of this study explore the destabilization of this boundary by examining the historical and theoretical context for torture in Guatemala. The ubiquity and normality of torture was so terrible that, for many, it became “unspeakable”—an atrocity that defied language. Chapters Two through Four study three different literary modes of countering the state’s rhetoric of torture, probing the possibility of narrating torture despite its seemingly unsayable nature. Examining works by Rigoberta Menchú (chapter two), Marco Antonio Flores and Arturo Arias (chapter three), and Rodrigo Rey Rosa (chapter four), and aided by current theories and studies of torture, this dissertation investigates the ways in which these Guatemalan authors have sought not only to re-present torture, but also to explore and sometimes question the possibility of bearing witness to that torture in literature.

Šiame diplominiame darbe yra apžvelgiama nebyliojo kino analizė. Kurią sudaro kino pradžios ir vystymosi aptarimas, remiantis istoriniais literatūros šaltiniais. Neišskiriant konkrečių pavienių filmų yra smulkiau analizuojas nebyliojo kino sudėtiniai elementai, tokie kaip muzika ir rašytinis tekstas filme. Aptariama jų stilistinė ir emocinė vartosena nebyliajame kine. Svarbi darbo dalis siejama su garso atsiradimo kine sukeltomis permainomis. Iškilę to laiko režisierių ir teoretikų, tokių kaip Eizenšteinas ir Pudovkinas, debatai dėl garso naudojimo kine keliamos reikiamybės ir pavojų vėliau realiai pasitvirtina praktikoje. Nebylumas kine analizuojamas ne vien istoriniu, bet ir filosofiniu aspektu. Antroji šio darbo dalis skirta pasikartojančioms nebyliojo kino apraiškoms išskirti. Tylos ir nebylumo vartosenos tyrimui remiuosi Susan Sontag tylos estetikos studijomis šiuolaikiniuose menuose, kurias savo ruoštu pakreipiau nagrinėdama idėjinį nebylumo poreikį kine, kuris kyla iš persisotinimo kalba ir daugžodžiavimo. Kūrybinėje darbo dalyje yra aptarimas klausos sutrikimų turinčių žmonių poreikis save reikšti bylioje raiškoje. Ir atliekamas video darbas šia tema. / This thesis is an overview of silent film analysis. This contains of early cinema beginning and development steps according historical researches. Without a need of separating concrete single movies and analyzing them as canonic examples I put my attention on music and written text stylistic influences. It discusses the emotional and stylistic usage silent cinema. An important part of this work is associated with the emergence of sound cinema – related changes. The evocation of that time, directors and theorists such as Eisenstein and Pudovkin, debate on the use of sound in cinema, and the risk posed by the necessity which actually proves in a later practice. Silence is analyzed not only in cinema history, but also the philosophical aspect. The second part of this work is given for manifestation of silent cinema release. Susan Sontag's survey of silence aesthetic studies of contemporary art, by its turn, examining the ideological tilt gives idea of need of deafness for the cinema, which arise from satiety language and repetition. Creative part of this work is hearing impaired people need to express themselves in resolution which is based on sound media. And according this topic I made a video work.

Cette recherche exploratoire a comme objet le silence et sa contribution à la rencontre entre les êtres humains. En première partie, la recherche documentaire issue de corpus autant philosophique qu'en étude des communications et en sociologie politique, met en contraste l'expérience du silence social et l'expérience phénoménale du silence. D'une part, à titre d'agent structurant l'ordre d'une société, le silence est bien souvent déterminé par le contexte des interactions et il renforce les rôles dictés par le théâtre social. Dès lors, la marginalisation et l'obligation au mutisme qui en découlent se posent comme thèmes importants dans ce mémoire. D'autre part, l'expérience phénoménale du silence, vécue au plus intime de soi, insère une part d'indéterminé dans l'expérience d'être au monde et rend l'individu synchrone aux phénomènes du monde. La deuxième partie du mémoire ancre ces considérations conceptuelles dans un terrain centré sur l'approche biographique auprès de trois collaborateurs. Les récits de vie sont recueillis et analysés dans les règles de la démarche phénoménologique en recherche et de la théorie ancrée. La comparaison thématique émanant des récits, mise en lien avec la littérature sur le silence, fait émerger les grands constats suivants : le silence conventionné ou, dans une autre registre, le silence défensif, sont des obstacles à la rencontre tandis que l'expérience phénoménale du silence est, en soi, relationnelle; la symbolisation du silence guide pour beaucoup l'expérience que l'individu en fera, et les implications du silence bien qu'elles diffèrent selon que l'on considère le silence intérieur – individuel – et le silence extérieur – du monde – s'interpénètrent lorsqu'il s'agit de la disponibilité à les apprécier. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : silence, expérience, rencontre, disponibilité, communication sociale, communication interpersonnelle, adaptation, conditionnement, exclusion sociale.

This thesis is the first close study of Wordsworth and silence. It uncovers the comprehensive investigation into monastic history and hagiography (with special emphasis on St Basil) that Wordsworth engaged in between 1807 and 1810, showing that the type of silence he valued came from the monastic tradition. I trace Wordsworth’s material commitment to the power of silence through his use of hermit figures and his habit of visiting ruined monasteries. I concentrate on the poetry he composed from 1807 onwards and mark his eight-month residence in 1806-7 at the home of Sir George and Lady Beaumont as the locus at which his intensive interest in monasticism germinated. I thus reveal a new dimension to this important patronal relationship, while additionally offering an analysis of a previously unstudied manuscript pamphlet ('An account of an English Hermit' by Thomas Barnard) which Lady Beaumont sent to the Wordsworths in 1809. I show how Wordsworth’s fascination with monastic sites and silence influenced his understanding of linguistic and political representation, inheritance, community, and pastoral retreat. At the same time, this critical attention to silence aids a revaluation of the religious vision of his work. The thesis uses this historical and biographical information as a means of closely reassessing formal, linguistic, and generic features of Wordsworth's poetry. At its root, my work is about the natures of language, poetic representation, and readerly experience. How does Wordsworth communicate via silence? How does he use silence to 'create the taste' for his poetry? Where does silence impact on his renovation of genre and conceptions of form? I conclude that, for Wordsworth, silence is a positive gathering of stillness from within that is nourished by patterns of repeated activity and community. It is one of his most profound heuristic tools.

The justice system in the east-African country Kenya has long been subject to severe corruption and lengthy bureaucracy.  Both historical and current injustices have been left unattended and unaddressed, obstructing community resilience. This has lead to the development of alternative dispute resolution (ADR) mechanisms that often build on traditional practices. In this study the ADR of restorative justice is examined. The study seeks to explore the relationship between the informal practice of restorative justice and the social dimensions of community resilience in the rural communities of Nakuru County in western Kenya. By merging questions on the practice of restorative justice with indicators of community resilience the study has found that the informal practice of restorative justice indeed has links to the shaping of community resilience. The practice has enabled dialogue between different ethnic groups. This has facilitated reconciliation and healing of trauma partly because new narratives have formed and partly because the culture of silence has been broken allowing people to share testimonies of violence and conflict. The study has also informed the community resilience field on the importance for collectivistic communities to have historical and ancestral events honoured, shared and addressed in order to fully enable conditions under which community resilience can form. However the practice shows ambiguous tendencies when it comes to inclusion of all members of society as community elders’ possesses a lot of power over the process, partially restricting community resilience to form.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

This thesis investigates the impact of apology hesitance on medical relationships after an error occurs. Literature suggests that medical personnel are reluctant to apologize because an apology suggests legal liability, violates the drive to provide perfect care that is expected of medical personnel and reinforced during medical education, and violates the certainty over bodies and maladies expected of medical personnel. I suggest that a culture of silence, a pattern of conduct embedded in medical culture, encourages apprehensiveness towards apology and responsibility in the face of error. Despite the fear of litigation, ‘Apology Act’ legislation shields apologizers from having their apology used against them in court, and literature suggests that apologizing following an error benefits doctors by restoring conscience and confidence, assists in the healing of patients and families and restores trust in their relationship with their health care provider, and refines the practice of medicine by addressing how the error occurred. I present two arguments in this thesis. First, I argue that a culture of silence has serious negative impacts on medical relationships and the safe provision of medical care as a whole by obstructing responsibility, apology, and preventing the discussion and correction of conduct that led to the error. Medical personnel who refuse to apologize, or provide an apology that is conditional, instrumental or otherwise of poor-quality leaves their relationship with patients and families in jeopardy. Further, by not apologizing, medical personnel obstruct their own ethical and moral development and obscure the origin and conditions surrounding the error, potentially jeopardizing the safety of future patients. Second, I argue that the medical culture of silence should be replaced by a culture that embraces apology. Doing so would permit medical culture to draw from care ethics, the principles of which are appropriate to responding to, maintaining, and repairing relationships that have experienced damage. The emphasis that care ethics places on maintaining and repairing relationships is especially coherent with apologies that seek to morally engage with the victim, promise non-repetition, and establish a proper record of events. Further, care ethics offers normative recommendations for conduct to respond to and repair relationships, provides inroads to refining notions of human security and safety, and is particularly attuned to interrogating dynamics of power within relationships, dynamics that can limit the potential for and impact of apology. This thesis offers the Tainted Blood Scandal of the 1980s and 90s as a case study. The provision of contaminated blood and blood product resulted in thousands of Canadians becoming infected with Human Immunodeficiency Virus and Hepatitis C. Through this case, I show that the actions of public health officials, the Red Cross, and healthcare providers reflected a culture of silence that sought to avoid and dispute attributions of responsibility by victims, blood activists, and the public. This is the culture that this thesis in its advocacy of apology seeks to challenge. / Graduate

Thesis advisor: Celeste Wells / This study analyzes female students’ perceptions of sexual assault at Boston College. These perceptions are interpreted and understood using the theory of framework and organizational communication. The goal of this study is to effectively illustrate how female students form perceptions of sexual assault, and to understand why they are often hesitant to engage in conversations about it. Through the use of framing devices, this study explains how the administration and campus culture influence the way students view the issue of sexual assault. 135 female students at Boston College participated in an online survey, and their responses indicate that a culture of silence emerges from the perceptions of sexual assault on campus. While the culture of silence influences most female students to refrain from talking about sexual assault, a new framing device emerged from the data, which I refer to as the frame of defiance. / Thesis (BA) — Boston College, 2017. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Departmental Honors. / Discipline: Communication.

Thesis advisor: Elizabeth Rhodes / This dissertation studies the uses of silence in a corpus of Baroque poems about portraits and funerary monuments. I explore silence as a dynamic, dialogic space where poetic voice, implicit reader and work of art interact. Within these poetic texts --written between 1599 and 1650 by poets from Francisco de Rioja to Quevedo or Góngora-- I focus on the question of representation: how, in ekphrastic texts, silence--whether the silence of the poet or that if the object he is describing--reveals certain anxieties about representation. Using enargeia --lifelike vividness--the Baroque poet searches for a new poetic art in which the `speech' of the portrayed breaks the ultimate silence of death. My critical discussion is rooted in an extensive corpus of seventeenth-century poems, an awareness of the moral implications of silence in Spanish Baroque philosophy, and in recent theoretical discussion of intermediality and ekphrasis, such as Mitchell's theory of ekphrasis and otherness (1994), and Foucault's concept of heterotopy (1986). My dissertation also examines the role of silence in its relation to the ideas of presence and absence in funerary ekphrasis, which includes the poetical description of tombs, as well as in the genre of laudatory ekphrasis and the poetical epitaph. I analyze the relationship between these instances of ekphrasis and the visual representations of silence in several books of emblems by Alciato, Kircher, and Vaenius, published in Europe between the sixteenth and seventeenth centuries. My dissertation demonstrates how silence is a central concept of Baroque aesthetics that identifies fictional representation with a "teacher of truth," and functions as a vehicle for the acquisition of moral knowledge in the context of the Baroque idea of desengaño, thus siding with the objectives of the Spanish Counter-Reformation. / Thesis (PhD) — Boston College, 2015. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Romance Languages and Literatures.